20th Century Figurative Sculptures

Howard Kanovitz The People, 1971 3-5 Mixed Media Silkscreen on Plexiglas and aluminum base Signed: Artist's Signature etched on the work and annotated A.P., Edition of 1 (an Artists Proof, aside from the regular edition of 75) 15 × 16 × 1 1/2 inches Signatured etched on the work and annotated A.P. , aside from the limited edition of 75. This excellent 1971 3-D photo realist work "The People" is a multiple based upon a larger work the artist did of people beholding a work of art. Here, we see them only from behind, because they are busy looking at art - a clever photorealist work - art about art - catching people in the process of looking at art. Howard Kanovitz Biography Howard Kanovitz was a leader of Photo Realism: a documenter of style and fashion, depicting members of the art scene at openings, or superimposing known critics and curators onto images of board room meetings. In his particular style, he explored the intersections of painting, photography, fiction, and fact. Kanovitz studied at the Rhode Island School of Design and The Art Studenst League in Woodstock where he worked with Yasuo Kyniyoshi before moving to New York an apprenticing with Franz Kline. As a member of New York’s downtown art scene, Kanovitz painted abstract paintings, which he exhibited at Tenth Street Galleries early in his career. Following his father’s death in 1963, Kanovitz went through family photos, an experience which prompted him to interrogate the relationship between images and perception. At this time, Kanovitz abandoned abstraction in favor of a figurative style and worked arduously in this new direction. These efforts culminated in a 1966 solo exhibition at the Jewish Museum, securing his place as a leader of Photo Realism among artists such as Larry Rivers, Alex Katz, and Chuck Close. His photo based, representational paintings exhibited at the Jewish Museum show were the first to be called “photo-realist” and shocked many in the art community prompting a symposium which was held at the New York Studio School for “downtown artists” to weigh in on this perennial “hot topic”, newly addressed by one of their own. Kanovitz first began using airbrush in 1967, giving his paintings a feeling of photographic perfection. Cut out figures created using this precisionist technique were placed in the viewers space, often in front of Kanovitz’s painted canvas depicting the luminaries of the art world of the time. This type of installation was the centerpiece in the first of several Waddell Gallery shows. Kanovitz has been the subject of many solo museum shows internationally and his work is collected by institutions such as the Whitney Museum of American Art, Metropolitan Museum of Art, Tate Britain, London, and Museum Moderner Kunst, Vienna. -Courtesy Eric Firestone...

Tom Cramer (b.1960). Standing Figure, 1998. Carved wood and polymer paint. Measures 17.5 inches high. Excellent condition. Signed and dated under base. Tom Cramer is an American artist working in Portland, Oregon noted for his intricately carved and painted wood reliefs and ubiquity throughout the city of Portland. Often called the unofficial Artist Laureate of Portland,[2] Cramer is one of the most visible and successful artists in the city. The influences on his work are both organic and technological. He is widely collected and is in many prominent west coast museum and private collections. He is in the permanent collections of the Portland Art Museum[3] in Portland Oregon, the Halle Ford Museum in Salem Oregon, the Jordan Schnitzer Museum in Eugene, Oregon, the Boise Art Museum in Idaho. Cramer made a name for himself in the 1980s and 1990s becoming a bridge between historical Oregon artists like Clifford Gleason and Milton Wilson...

A Songye Male Power Figure, Democratic Republic of the Congo, the male figure resting on one knee, with openwork arms and hands resting by the abdomen which contains various charms a...

Walter Sinz (American, 1881-1966) Mother and Child, 1949 Plaster Signed and dated on base 23.5 x 6 x 9 inches Walter A. Sinz was an American sculptor born in Cleveland, Ohio on Jul...

Rendered in bronze, this bas-relief portrait of the 16th president of the United States is from a limited run of only two editions. The wall-mounted artwork is signed in the metal ve...

Bernard & Arnaud Bessoud, 1946 & 1971 French "Lion Head", Bronze with brown patina Foundry Chapon Signed on the base and numbered Certificate from the Ar...

Wonderful and one of a kind nude sculpture by Noche Crist (1909-2004). Sculpture is made from polyester resin. Catalogue of a postumous retrospective in 2008 at the American Universi...

This sculpture is part of our exhibition America Coast to Coast: Artists of the 1930s Kossack, c. late 1930s, polychromed cedar and walnut relief sculpture, carved signature under the base of the figure, 15 x 8 x 3 1/2 inches (figure), 10 x 19 inches (board), exhibited at Zeidler's solo exhibition at the San Francisco Museum of Art, November - December, 1942 (label verso), label verso reads "Kossack / cedar & walnut / Avis Zeidler" About the Sculpture Kossack is typical of Aviz Zeidler’s direct carved wood sculptures of the 1930s. The subject looks directly at the viewer, unfeeling behind a polychromed stare. Seemingly influenced by two of her major teachers, California’s Ralph Stackpole and New York’s William Zorach, Zeidler drew on primitive traditions to create what one critic described as her “gruesome wood sculptures.” Rigid, solid, and unmoving are other words that characterize Zeidler’s statues which often seem to have the deeply rooted ancient power of a totem. Zeidler’s “grimacing artificiality does, indeed, manage to hold a sense of force,” is how The San Francisco Examiner art critic put it in 1938 when describing the artist’s award-winning entry at the San Francisco Art Museum. The same words could have applied to Kossack when it was exhibited at the museum four years later. Perhaps the artist was trying to contain the power of the fearsome Kossacks, the enemy of so many Eastern European peasants, by freezing the image in wood. About the Artist Avis Zeidler (Nemkoff) was a California-based artist who is principally known for her sculpture and drawings. She was born in Madison, Wisconsin, but moved to Northern California by the late 1920s where she majored in art at Berkely and studied with Lucien Labaudt, Ray Boynton...

Rosa Portugal marble torso of a woman. Unsigned. Late 20th century. In excellent condition. American School. 18.5 inches high by 10 wise by 7 inche...

Burled Maple Sculpture Nude Woman with Arms Over Head Beautiful burled walnut sculpture of a nude woman. The woman stands with her arms stretched over her head. Behind her a dark st...

A collection of five hand-made Japanese Noh drama masks, four of them hand-carved wood, and one (the largest, the one that's black and red on one half and w...

David Pryor Adickes American (b. 1927) John F. Kennedy bas-relief plaster relief sculpture in artists frame incised signature lower center. with gold stars. Deep relief, approximatel...

The bronze sculpture "Owl" is an exaggerated rendition of an owl that emphasizes the bird's most prominant characteristics - a big fluffy round body and large unblinking eyes making it a charicature of the bird. It is very touchable and calls for one to pet its rounded back. Tom Brun, the sculptor and zookeeper, is well-known for his wood, stone, marble, ceramics and ivory sculptures. One of them, a large hippopotamus, carved from walnut wood travelled the world in the State Department collection. It is said that Tom would often go into a house and pick up one of his sculptures and say that it was unfriendly – meaning that it had not been handled enough. Morley Driver has said of Brun in a newspaper article from the 1950’s “In Any Animal He Sees Beauty”: No one who has ever seen a Tom Brun hippopotamus will ever again think of it as ugly or ungainly, meaning that the artist not only gives you beauty but teaches you to see it. Tom has said: “Small pieces are like a proverb – a gem of meaning that one can dissect.” They are meant to be picked up, caressed and held. This owl, too, seems destined to be caressed. Brun was born in England in 1913. A few years after the end of World War I his father moved the family in 1919 to Detroit, Michigan. In 1935 at age 23, he officially became a U.S. citizen. He served in the army during World War II for five years and upon discharge and at the age of 36 took advantage of the GI Bill and applied for admission to Society of Arts and Crafts (now known as the College for Creative Studies) where he was gladly accepted. While at Arts and Crafts his instructors and established artists such as Sarkis Sarkisian, John P. Foster, Morris Brose, Richard Koslow, Patricia Burnett, Lloyd and Renee Radell...

Chana Orloff (1888–1968) Seated Woman, 1958 Bronze, Height: 55 cm Signed, dated, and numbered 3/8 Stamped with foundry mark Susse Fondeur, Paris A masterful example of Chana Orloff’...

"On the Wings of an Eagle by Chester Fields is one of his most popular sculptures. This is number 26 of 75 made. It is made with the following: Bronze Casting Deluxe Patina Gold Beak...

Striking bronze organic sculpture by Latin American sculptor Raúl Valdivieso (Chilean, 1931-1993). Valdivieso is known for his reinterpretation of the ...

Ugo La Pietra is an Italian artist, architect, designer and philosophy. Since 1960 he created the fundamental of European artistic tendancy as founder of various art groups such as Global Tool, Radical Design...

This sculpture is part of our exhibition Charles Goeller: A Wistful Loneliness. Carved and painted wood and gesso, 23 x 15 3/4 x 3 inches, Signed verso "Carved by Charles L. Goeller...

Artist: Arbit Blatas, Lithuanian (1908 - 1999) Title: Andre Derain Medium: Bronze Sculpture, signature inscribed on base Arbit Blatas and his works have been part of the art scene f...

Artist: Sandro Chia (Italian, b. 1946) Title: Angel with Heart (large) Year: circa 1980 Edition: 2/6 Medium: Bronze, signature and numbering inscribed Size: 29 x 14 x 7 in. (73.66 ...

Grisha Bruskin (Russian, b. 1945) Vision, 1992 steel Hand signed and inscribed Grisha Bruskin in Cyrillic numbered 117/300 Genre: Contemporary Subject: Religious Medium: Steel Gri...

Pablo Picasso ( Ceramic work made in Vallauris .France ) "Scène de tauromachie " model created 11 June 1959 , numbered 54 / 100 . Mint Condition .Original work edited in a series of ...

Geometric Composition is a sculpture realized in 1984 by Giuseppe Pulvirenti (Siracusa, Sicily, 1959).  Made in Italy. Steel. Signed and dated: G. Pulvirenti 84. The sculpture de...

William Zorach (American 1891-1966) First Steps, 1918 Bronze 8.5 x 5 x 4 inches, including base Born in 1887 in Lithuania, William Zorach immigrated with his family to the United States when he was just four years old, settling in Cleveland, Ohio. Zorach displayed an exceptional artistic talent at a young age and, at the recommendation of his seventh-grade teacher, began studying lithography at night at the Cleveland School of Art. It was not long before he was apprenticing at a lithography company in Cleveland. It was there that he realized he wanted to become an artist - to escape the commercial end of the field in which he was suddenly immersed. In 1907, Zorach saved enough money to move to New York and study art at the National Academy of Design, where he received several awards for his paintings and drawings. He continued his studies in Paris in 1910 at La Palette. This year abroad would turn out to be quite fruitful because in Paris he was greatly influenced by the Cubist and Fauvist movements and had several paintings exhibited at the Salon d'Automme. This influence and subsequent success fueled his career back in the states where he was honored with his first one-man exhibition. Due to this new-found stability, he married a young woman he met at school in Paris, and they moved to New York and set up a studio. Shortly after, their work was accepted into the famous 1913 Armory Show. For the next nine years, Zorach continued to think of himself as a painter, although he had already begun to experiment in sculpting. He was experiencing modest success with his painting and was therefore reluctant to abandon it completely. However, he was impelled toward sculpting, and in 1922, he painted his last oil. Zorach's involvement with sculpture began largely be accident. While he was working on a series of wood-block prints, Zorach suddenly became more interested in the butternut panel than the print and turned the panel into a carved relief. With no formal training as a sculptor, Zorach's first sculptures were of wood and his carving tools were primitive, such as a jack-knife. I n fact, his early works have a certain stylized look, suggesting the influence of various primitive arts such as African and American folk. Zorach found his sculptural direction by instinct, but was not unaware of what other sculptors were doing, both here and abroad. He soon allied himself with a growing number of modern sculptors who believed in the esthetic necessity of carving their own designs directly in the block of stone or wood rather than modeling them in clay. From the beginning he found a deep satisfaction in the slow and patient process of freeing the image from its imprisoning block, watching the forms emerge and appear. "The actual resistance of tough material is a wonderful guide," Zorach said in a lecture on direct sculpture in 1930. The sculptor "cannot make changes easily, there is no putting back tomorrow what was cut away today. His senses are constantly alert. If something goes wrong there is the struggle to right the rhythm. And slowly the vision grows as the work progresses." Zorach also found that the material itself had a constantly modifying effect on the artist's vision. The grain of the wood, the markings in the stone, the shape of the log or boulder all set limits and suggested possibilities. He was always sensitive to the characteristic qualities of his material and occasionally let them play a major role in determining his forms. In works such as these, the feel of the original material is preserved in the finished piece and is often heightened by leaving parts of the original surface untouched and other areas roughly marked by the sculptors tools...

We are proud to present a lifetime masterpiece by American artist Maxine Kim Stussy. “Maxumus: Circus Horse”, is an original wood assemblage of both ha...

"Dance Every Dance" by Denny Haskew Figurative Bronze Female Bust, Native American (companion piece is Carry a Quiet Heart) 24x17x17" ed/25 #4 of 25 available (first two pictured) "...

Unique. Signed and dated -66 on the right side. Provenance: Galerie Bonnier, Genève Size with socle: 74x38x17 cm Arman explores reality. He strives to transform and sublimate art...

Bronze artwork made with lost wax casting technique. This is the prototype, unique signed artist proof. Title "Sleeping body" Sergio Monari is an Italia...

David Hostetler carved the wood original for this bronze casting in 1960. He used an exotic wood board he obtained at the Brooklyn Naval Yard. You only notice the narrowness of the o...

Indian Ponies, realistic bronze sculpture, dark brown patina, horses, Nambe Foundry limited edition bronze solid casting Allan Houser (Haozous), Chiricahua Apache (1914-1994) Selec...

EMILE-ANTOINE BOURDELLE (French, 1861 - 1929). La Nuit de profil (The Night in profile) Conceived 1900-1904 Cast 1972 Patinated bronze Interior signature "BY BOURDELLE." Foundry st...

Illustrated: "Walt Kuhn, Painter, His Life and Work, by Phillip Rhys Adams, page 67, plate 27, Courtesy of Kennedy Galleries-Kuhn Estate (see photo) Kuhn’s sculptures were collected...

"Dance Every Dance and Carry a Quiet Heart" by Denny Haskew Figurative Bronze Male and Female Busts, Companion pieces, Native American Dance= 24x17x17" ed/25 #8 of 25 available as pi...

Dame Elisabeth Frink. English ( b.1930 - d.1993 ). Maquette For Man And Eagle. Bronze With Gold Brown Patina. Signed And Numbered 1/7 Lower Left. Size 8.7 inches x 10.2 inches ( 22cm x 26cm ). Depth 2.8 inches ( 7cm ). Weight 7.1lb ( 3.24KG). Available for sale; this original bronze plaque with raised relief is by Dame Elisabeth Frink and was conceived and cast in 1967. The maquette is presented and supplied unmounted. There is the option to hang the plaque from 2 rings applied to the rear when in previous ownership. This vintage bronze plaque...

This work is hand signed. It is not dated. Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. Murat BRIERRE was born in Mirebalais in 1938. He first worked as a builder, cabinetmaker and blacksmith before being introduced to Le Centre d’Art in 1966. After trying painting with DeWitt Peters, he realized that metal sculpture was best suited for him and studied under Georges Liautaud in order to learn the métier. He also made very beautiful linocuts. Francine Murat quickly recognized his talent and considered Brierre to be one of the best Haitian sculptors. He passed away in 1988 at the age of 50. Brierre was known for his recycling of surplus steel oil drum lids. Brierre worked as a brick mason, cabinetmaker, tile setter, and blacksmith. He was born in Mirebalais or Port-au-Prince, Haiti and was the younger of two brothers. His older brother, Edgar Brierre, was a painter and sculptor. The brother's signed their works with only their last name, creating some confusion within their professional circles about the authorship of their work. Brierre's sculptures typically ranged from three to six feet in length and reflected Christian, Haitian Vodou, and folklore themes. Brierre was also a painter, but ultimately chose to work with metal because he felt that the material was saturated with spiritual energy. It was a laborious process. The oil drum lids were hammered flat, drawn onto, then cut with a razor. The sheet was then cut with a chisel before finishing was completed with a file. By the mid1970s, Brierre's sculptures included pronounced areas of cut outs surrounding long curved lines of metal. Brierre's iron sculpture titled Chien de Mer overlays a dog head onto the body of a fish. Haiti has long celebrated a rich artistic and cultural heritage. Georges Liautaud (1899–1991) ignited the Haitian metal sculpture movement in the 1950s in Croix-des-Bouquets, Haiti. A blacksmith by trade, he fashioned crosses for public cemeteries before creating more elaborate cut-metal works. Liautaud disseminated the distinctly Haitian art form to emerging artists, such as Murat Brièrre (1938–88) and the Louisjuste brothers, Sérésier, Janvier, and Joseph (1940–89). They, in turn, taught others in Croix-des-Bouquets, including Gabriel Bien-Aimé (b. 1951) and Serge Jolimeau (b. 1952), Haiti’s two leading metal sculptors working today. Discarded steel oil drums have historically served as the base material for Haitian metal artists. The drums’ lids are cut open with a chisel and hammer and a long vertical split is made along the side of the drums. The interiors are filled with dried sugarcane or grass and lit on fire to remove any grime; once cool, the drums are flattened into sheets. Designs are chalked on; pieces are then cut and sculpted using only hand tools and further enhanced by hammering, embossing, cutting holes, and bending the metal. Sculptures reflect everyday life portraits, imaginative themes, and motifs of Haitian Vodou, an African Diasporic religion. Some of the many forms that appear include angels and winged creatures, mermaids and other aquatic figures, musical bands, animals, and earthly, paradisiacal scenes. Solo exhibitions 1967 – Haitian Art Gallery, New York 1968 – Centre d'Art, Port-au-Prince, Haiti; Bradley Galleries, Milwaukee, Wisconsin; Georgetown Graphics Gallery, Washington D.C.; Menschoff Gallery, Chicago; John Michael Kohler Arts Center, Sheboygan, Wisconsin; Roko Gallery, New York 1969 – Centre d'Art, Port-au-Prince, Haiti; Showcase Gallery, Washington D.C.; Botolph Group, Boston 1970 – Centre d'Art, Port-au-Prince, Haiti 1972 – Centre d'Art, Port-au-Prince, Haiti; Roko Gallery, New York 1979 – Areta Contemporary Design, Boston Group exhibitions 1969 – Davenport Art Gallery, Iowa 1974 – Davenport Art Gallery, Iowa 1978 – Brooklyn Museum, New York (traveling) 1982 – Studio Museum in Harlem, New York 1983 – Chicago Public Library Cultural Center 1985 – Davenport Art Gallery, Iowa 1987 – Musée du Panthéon National, Port-au-Prince, Haiti 1988 – Galeries Nationales d'Exposition du Grand Palais, Paris 1989 – Museum of Art, Ft. Lauderdale, Florida 2006 – Phyllis Kind Gallery in conjunction with the Outsider Art Fair, New York 2024 Ayiti Toma II: Faith, Family, and Resistance, Luhring Augustine, Tribeca, New York 2023 Haitian Metal Sculpture, SFO Museum, California, USA 2015 Celebrating African American Art, Flomenhaft Gallery, Chelsea, New York, USA An important exhibition of works by outstanding African American artists. Included were: Emma Amos, Benny Andrews, Romare Bearden, Murat Brierre, Beverly Buchanan...

Grisha Bruskin Adam Kadmon (Vision), Signed and signed dedicated to art historian and collector Jacob Baal Teshuva), 1992 Steel Sculpture (Signed, Dated & Dedicated) 6 × 6 × 3 inche...

Bronze sculpture.. Incised artist signature; stamp numbered with foundry and date. Edition: Of 375. Certificate of Authenticity is included. Artwork is in excellent condition. All...

This is an interesting bronze sculpture multiple art work signed by the Italian artist Filippo Panseca. Title The secret of the Pharaoh This is a multiple of a numbered edition of 1...

This head of young boy is a rare, precious and unpublished sculpture by Marino Marini, belonging to a private collection for over 60 years. The same subject...

"Tempests" Bronze & Marble Sculpture 12" x 8" in by Ibrahim Abd Elmalak Double-faced Bronze & Marble Signed & Dated Sculptures that mostly depict his characteristic figures of f...

Genre: Surrealism Subject: people, architecture rendering Medium: Etching Surface: Paper Salvador Dali (Spanish, 1904-1989) I believe the title is L'Immortalite de L'Imperialisme Ge...

Paolo Cassarà, this Italian artist, usually utilized painted terracotta in real human dimensions for his Surrealist artworks. It was exceptional the use...

Vintage wood mask. The edge undulates and is lightweight. Date and artist unknown.

Dan Super "SAM HOUSTON" (1873-1953) Houston Artist Image Size: 3 3/4 inches tall Medium: Carved Horn of Sam Houston to celebrate the Texas Centennial. Texas Centennial 1936 "Sam Houston Pin Cushion Holder" Biography Dan Super (1873-1953) Dan E. Super, Jr. (1873 – 1953) Dan Super had the eye of a sculptor, envisioning and then creating hundreds of objects from the elongated form of a Texas Longhorn’s tusk. At the age of six, Dan Super carved his first drawing into a piece of the horn of a Texas Longhorn. Over the next 56 years, he made utilitarian pieces like pencil cups, pin cushions, and backscratchers, realistic replicas of animals and birds, and imaginative carvings of elegant nudes. While these carvings resemble the traditional art of scrimshaw, carvings from whale bone, we’ve not been able to identify another carver who used the Texas Longhorn as his material. “My work is done with an ordinary pocketknife, hacksaw file and rasp,” Super wrote in 1937. He used the horn in every way conceivable; whole, allowing the shape to define the object he was making, flattened to make mosaic or inlay work. He incised and pierced it and carved in the round. His own hands polished the horn to a sheen. Daniel Super, Jr. was born in Houston on August 22, 1873. His father owned stock years, D. Super and Brothers Co., providing the young Super with ready access to his raw material. Throughout his life, he worked in the businesses key to the identity and success of young, booming Houston, cattle, oil, real estate and rail. In 1896 he married Lula, and took over the family business, expanding it to include a grocery. He closed the company in 1912 and got into the oil business...

SCOTT KILGOUR (b. 1960): ELECTRIC LIGHT BULB Etched slate, 1992, signed ''Scott Kilgour'', titled and dated on the reverse. Provenance: Camilla and Earl McGrath Collection. Scott Kilgour is a British Postwar & Contemporary painter who was born in 1960. Their work was featured in several exhibitions at key galleries and museums, including the Elga Wimmer PCC and the Howl! Happening. Encouraged by the first curator of 20th Century Art at the Metropolitan Museum, Henry Geldzahler, to move to New York City in the early 80's, Kilgour experienced first hand the frenetic contemporary American art scene. By the end of the decade, after absorbing the eclectic New York sensibility, Scott's lines and curves had evolved due to contact with Pop Art, Minimalism, New Wave, Graffiti and modern dance. His work was further influenced by Edmund Carpenter, a prestigious anthropologist, who galvanized his interest in continuous line drawing and knotwork designs. Gallery exhibits in the ‘80s included 56 Bleecker Street Gallery, DIA Foundation and Holly Solomon Gallery. In the 90's, Kilgour would further expand his body of knot-work designs, embarking on a decade-long study exploring the spatial relationship of continuous line drawing in Scottish Celtic Interlace. Kilgour's linear style is grounded in Charles Rennie Mackintosh's Art Nouveau aesthetic. This exploratory culminated in a 1999 exhibition at the Mackintosh Museum, Glasgow School of Art, as part of the Glasgow UK City for Architecture & Design celebration. Currently, Scott is working on a botanical body of work inspired while drinking a glass of rose in Provence, surrounded by a blossoming white French rose garden. Flowers are an ideal subject for Scott’s linear execution, as no two images are the same based on rosette whorl and luminous petals radiating from a single node. Kilgour attended the Glasgow School of Art and has been featured in media outlets including Interview Magazine, New York Magazine and Elle Décor. Select Group Exhibitions 2019 MM Gallery, New York, Regarding Tom & Henry - Tom Slaughter, Stephen Hannock, Robert Harms, Scott Kilgour, Ray Charles White. 2018 Elga Wimmer Gallery, New York, Bloom / Wilt / Bloom - Donald Baechler, Crash, Alex Katz, Donald Sultan, Scott Kilgour, Andy Warhol. 2017 Howl Arts, Arturo Vega...

Jim Leedy “Torso Vessel” (Fish Head Woman) Stoneware Sculpture, Glaze Year: 1979 Size: 34.75 x 16 x 11 Signed COA provided Ref.: 924802-1364 Jim Leedy was a...

This sculptural head, crafted from heavy soapstone —a naturally occurring metamorphic rock —depicts a serene Southeast Asian-style figure with softly closed eyes, arched brows, and a...

Large Arch is a bronze sculpture by contemporary artist Yann Guillon, dimensions are 40 × 25 × 15 cm (15.7 × 9.8 × 5.9 in). The sculpture is signed and numbered, it is part of a limi...

This intense abstract bronze sculpture was created by the Italian artist Eli Riva in the Late 20th Century. The artwork is a multiple numbered and signed of 5...

Artist: George Gach, Hungarian (1909 - 1996) Title: Moses Year: 1966 Medium: Bronze Sculpture, signature and date inscribed Size: 17 x 11 x 10 in. (43.18 x 27.94 x 25.4 cm)

This striking bronze sculpture by Angelo Canevari blends ancient symbolism with contemporary design, making it a captivating centerpiece for any sophisticated interior. The work's ar...

Figurative cast bronze cachepot. This cachepot depicts two nude female figures floating along the top, as though they are immersed in water. Their hair is long and floats on the side...

A tall, modified columnar vase with incised catfish by Canadian-American ceramist Sasha Makovkin (1928-2003). Made of a white clay body. Glaze in varied shades of gray, blue and green. Signed and titled by the artist including trademark on the bottom: "Makovkin," "Blue Catfish." Dimensions: 14.25 Height x 4.75" Top x 5.13" Base. Northern California potter Sasha Makovkin, originally from Vancouver, B.C. and of Russian descent, moved to California in 1954 to work at Heath Ceramics in Sausalito in order to get industrial experience. During the 1050s, Makovkin exhibited at the Association of San Francisco Potters and at the San Francisco Art Festivals. Five years later after arriving in California, Makovkin took some samples of his ceramics to Gumps, a high-end department store in San Francisco. Impressed with his work, Gumps featured Makovkin’s work in the mail floor exhibits for the next three years. He had periods of apprentice with Marguerite Wildenhein at Pond Farm artists’ colony and with Ross Curtis. He also worked for Edith Heath at Heath Pottery...

This intense and engaging abstract bronze sculpture, it is a multiple in limited edition not numbered, lacquered in black. The title is "Paesaggio con ombra" translated " in " Landsc...

Artist: Chaim Gross, Austrian (1904 - 1991) Title: Mother and Child Medium: Bronze Sculpture, signature inscribed Size: 10 x 5 x 5 in. (25.4 x 12.7 x ...

Jenik Cook Handmade ceramic vase or pot sculpture Hand signed by the artist. Fired clay with a luster bronze painted finish Jenik Esterm Simonian Cook is a painter and ceramicist ...

Louis Armand Bardery (French, 1879-1952) Muse of Dance Bronze with green and brown patination Signed and stamped with foundry mark 18 x 6 inches Louis Armand Bardery was a student o...

"Horse Carriage" is hand covered Jaguar Jade created in China during the 20th Century. Intricately carved horse carriage with four horse and a driver. Made to look like the Terracotta Army...

Artist: Paul Oestreicher, American Title: In the River of Grass "The Chase" Medium: Bronze Sculpture Size: 9 in. x 20 in. x 8 in. (22.86 cm x 50.8 cm x 20.32 cm)

Paul Dierkes (1907 Cloppenburg - 1968 Berlin), Vegetative Form. Mahogany, 1958. 142 x 16 x 10 cm (sculpture), 21 x 17.5 cm (base), monogrammed "PD" on the reverse. - Grown Art - ...